"I came because I love Hot Chip" was only one of the phrases overheard from the anticipated crowd. As more people trickled in as the night passed by, Alexis Taylor headlined a synth-filled night at The Empty Bottle.

In the heart of Chicago's Ukrainian Village, The Empty Bottle's known for hosting some of the best underground acts and sticking true to their motto "music friendly dancing". Adding Alexis Taylor, along with opening act Annie Hart, to their artist history only enriches the venue's fantastic history. Following a solo career focusing on introspection, the singer/songwriter showcased his creativity in new ways.

Incorporating energetic samples and instrumentals that resonated with the audience, more and more attendees approached the stage and swayed along to the rhythm. With 5 albums under his belt, the most recent being Beautiful Thing this year via Domino Records, Alexis Taylor continues to emotionally impact any listener by showcasing vulnerability at its finest. Shaping the album around the title track, Tim Goldsworthy (co-founder of Mo Wax and DFA Recordings, member of UNKLE and LCD Soundsystem) joined Alexis to produce Beautiful Thing. Honing in on a realm of artists for inspiration, the two worked side by side to bring the intimate tracks to a new level.

I remember listening to Real Friends on my pink iPod Nano while waiting for the school bus when I was a freshman in high school. I was 14 years old and my mental health was probably at one of the lowest times it’s ever been in. At the time, I don’t think I had ever related to music as much as I did when I would listen to Put Yourself Back Together.

Thinking back and remembering what ran through my head, "holy shit, everything that I’m feeling right now has been put into a song and this is it". It’s been years since then and thankfully my mental health has improved with the help of medication as well as my own self-care. But when I didn’t have the courage to seek professional help, Real Friends made me feel a little less lonely and I’m not sure if I will ever be able to explain how grateful I am for that.

This week, I was lucky enough to attend an exclusive album listening party for their new album, Composure, coming out on July 13th. The boys were all in attendance and fans got a first look at the album cover as well as the pleasure of listening to the entire album in full before it’s released to the public. While the album was blasting over the speakers in the screen-printing warehouse, everyone was able to talk one-on-one with the band members and enjoy cupcakes and chocolate-covered strawberries.

Their new song, "From the Outside", has already been released to the public with a colorful music video that only scratches the surface of the impressive instrumentals and lyrics included in Composure. The whole album delivers an extremely full sound and pairs it with the emotional and relatable lyrics that Real Friends is known for. Although I don’t want to give too much away because there is a bit of pleasure that comes with the suspense of waiting for the full record release, I will say that both new and old fans alike will not be disappointed with this one.

Check out the latest Real Friends music video for "From The Outside" below and stay updated with their links right under.

This concert reassured me of two things: the bassist in a band is always the weirdest member and thankfully there are still musicians making catchy tunes that have personality and are truly original.

Musicians these days often rap to the same beat and are caught trying to create radio hits, resulting in a Coldplay situation that the majority of people eat up. With Rainbow Kitten Surprise, I'm listening to their music, reading who they claim as their inspirations, and I'm not coming up with a simple answer as to who they take after or how they craft their songs.

I can tell one thing: this genre-less band listens to just as much, if not more, hip-hop as they do pop and rock music. This musical diversity plays a role in the execution of their performances and genuineness of their records.

The five Boone, North Carolina natives of Rainbow Kitten Surprise were joined by southern rock band CAAMP for the April 21 Chicago show at The Metro.

It was a smart move by The Metro to have ceiling fans blowing on the crowd all night, because the sold-out show had a crowd packed with music lovers trying to dance through the night.

Rainbow Kitten Surprise opened the show with the first two tracks from their latest album, “How to: Friend, Love, Freefall.” Following the two songs, “Pacific Love” and “Mission to Mars," was the popular “Cocaine Jesus” from the band’s 2015 sophomore album “RKS.”

The band was clearly happy to be in Chicago, “We’ve been looking forward to this for a while,” lead Sam Melo said to the crowd.

Melo showcased his hip-hop flare in “Fever Pitch” and his seductive dance moves in “Lady Lie” during the Metro performance.

The very fitting closing song “Goodnight Chicago” wooed the crowd as the performance rolled into 11 p.m.

There’s refreshing originality in this band’s tunes. Over the course of the five years Rainbow Kitten Surprise has been releasing music, their sound has stayed unique and each album is clearly recorded with tremendous emotion and personal care.

Sam Melo playing keys and Charlie Holt on bass. Photo by Kelley Sloot.

The early Son Lux concert started at 7 p.m. with openers Hanna and Sinkane. The three boys of Son Lux—Ryan Lott, Rafiq Bhatia and Ian Chang—hit the stage promptly at 8:30 p.m. with an intro so soft, you could hear the bartenders in the back of Lincoln Hall shaking drinks.

It was silent in the crowd for a couple minutes, and I mean dead silent. There were no voices over the muffled sound wave the band had been sending out into the crowd. Quiet anticipation feels weird—especially at a concert. There was no clapping or woos from the audience, no side conversations able to be heard near me, and all I could make of that is pure anticipation.

Dreamy blue lights radiated around the room making the Lincoln Hall feel like the inside of a fish bowl. An abrupt ambient shift in the opening song startled me a couple minutes in, bringing my attention back towards the stage.

That ambient shift is what allowed me to recognize the song as “The Fool You Need. A track off the band’s latest album “Brighter Wounds,” which was released this year. Bass drum carried the song all the way through, with additional edited layers, allowing it to be the perfect combination of notable Flume influence with the typical abruptness in sound changes and dreamy vocals of Son Lux.

Following this track was a tune from the band’s 2013 “Lanterns” album. “Easy” is Son Lux’s most commercially successful song. The song was noticeably less impressive live than on the record. During the live performance, it sadly lacked substance and clean shifts.

However, the third song of the night, “Surrounded,” another track from the band’s latest album shows the matured sound and style of the group as a whole. This song had clean, fluid shifts and sudden pauses that kept the crowd's attention.

At the end of "Surrounded," drummer Ian Chang got a chance to show his skills with a very long drum solo that wooed the crowd.

Even a couple songs in, the crowd was still crazy polite and attentive. “It’s rare to feel like everyone in the room is listening,” said Lott, who noticed the respectful quiet throughout the room.

In Son Lux, each band member brings an equally powerful aspect to the band’s live performance as a whole. These three extremely talented musicians bring completely different elements to stage and make their individual strengths work together through the band's dreamy compositions.

On Friday, I had the opportunity to attend and photograph Lauv’s sold out show atLincoln Hall. This show was especially special to Lauv as he was nearing the end of his NorthAmerican tour and was also special me as I got to attend it with a very good friend of minenamed Ashley, touring colleges in the Chicago area. Her last night in the Windy Citywas spent dancing along to Lauv’s melodic vibes. If that isn’t a perfect ending for a trip toChicago, I’m not sure what is.

If I’m being honest, I was not super familiar with Lauv’s music before this show. I knewsome of his unpopular songs, and a few of his more popular ones such as “I Like Me Better” and “A Different Way” which Lauv recorded with none other than DJ Snake. I had not heard ofJeremy Zucker, the opener on this tour but after this show - I definitely will be streaming Jeremy and Lauv’s song a lot more often.

The overall show was exceptional, starting with Jeremy Zucker’s opening. One quickthing I noticed is his strong resemblance to Blackbear. I was not surprised when Jeremy sharedwith the audience that he was going to play the original of a song he wrote that Blackbearreleased titled “Make Daddy Proud.” I’ve jammed to this song so many times and it wasawesome to see where it originated from. I love seeing this type of music progression.The most important thing to me at every show I go to is the audience/performerinteraction. Lauv not only gave a spectacular performance but truly connected with the audience.

I think his tour name “I met you when I was 18” personally connects with myself and many other 18 year olds in the audience. Throughout the show, he would stop to describe the meaning of many of the songs he sung which I think adds a new level to them. The one comment he made that got the most attention from the audience was his statement about falling in love. He said that falling in love is full of ups and down and is truly confusing as hell. This statement is something that we can all relate to and the audience’s cheers led me to believe they agree.

Something special and I haven’t seen done at a show before is something Lauv refers toas "Blue Thoughts". Basically, at every show there is a box and Lauv encourages attendees to write anything on their mind, anything at all and throw it in a box. He then takes these notes and a photo with the crowd and saves them as a memory. This is a truly creative way to really connect and embrace with fans. I commend his for this and it was a wonderful sight to see so many excited fans tossing their notes in.

I am looking forward to seeing Lauv again February 22, as he will be performing for DePaul students at their annual free concert named Polarpalooza. Students canreserve their tickets HERE. I highly recommend DePaul students to catch this show, and non-DePaul students to catch Lauv next time he comes around.

Concerts are for anyone and everyone. Especially around a holiday like Valentine’s Day. What better way to enjoy the holiday of love (or to spite the drag of a corporate holiday) than with a concert?

I waited, standing lightly in my New Balances, in the very rustic Thalia Hall for Kweku Collins to hit the stage and start the night off. People around me came in groups, with their significant others, and even alone to catch the Valentine’s event.

Lots of love was brought to Thalia Hall during night one of the three-night Whitney Valentine’s Day special. A local rapper, Kweku Collins and a local indie-rock band Whitney carried the night out with passion in the city they call home.

The Evanston-born rapper opened the three-night Valentine’s Day Whitney special on Feb. 13.

The crowd was very calm and despite the venue being sold out, Thalia Hall felt spacious. I overheard whispers of Whitney’s “melancholic music” and how it made people feel something.

Before Whitney brought their melancholic music to the stage, Collins brought his unique indie-rap music to Thalia Hall.

The young rapper, producer, and songwriter released his first album in 2015 just after graduating high school. He’s released an album every year since. The most recent being the 2017 “Grey.”

Collins took the stage at about 8:30 p.m. The rapper seemed excited and honored to be opening for Chicago band Whitney for their three-night special.

Walking on stage, it was hard to get a grasp on his style. Collins was wearing a white tie-dye t-shirt with a black suede flannel and straight black leather pants pulled over a mid-calf wide ankle boot—his outfit was the only criticism I had of the night.

Aside from this minor quirk, he was very charismatic and soulful on the stage, even when doing his awkward stage banter. At one point in the show it included asking the audience for some lip balm—to which the fans replied with multiple Chap Sticks being thrown at the stage.

“I feel like there’s lots of couples and shit,” Collins said to the crowd before playing his love themed songs such as the popular “Lonely Lullabies” off his 2015 debut album “Say It Here, While It’s Safe.”

The quirky and very entertaining performance from Collins was passionate and powerful. The kind of performance that gives you that tickle feeling in your chest and forces you to break a soft smile.

Before leaving the stage and introducing Whitney, Collins told the crowd to have a happy Valentine’s Day.

“Love yourself tomorrow if you love anybody,” Collins hoped for the crowd.

About a half hour later, Whitney hit the stage. The band promptly let the crowd know that the set was going to be a long one. Not only were they ready to play three nights, but the band had an 18-song set prepared for night one. A set so long that the band wrote in a five-minute break after song 10.

Sipping red wine, the band was casual and not overly interactive with the crowd while on stage. The guys opened with some of their most popular tracks: “Dave’s Song,” and “No Matter Where We Go” from their 2016 debut album “Light Upon the Lake.”

A few songs in, I decided that I had hopped on Chicago’s Whitney bandwagon. The hype over Whitney here in Chicago was always something that drew me further away from the band. However, after watching just a few songs of their intimate performance, I started to feel the hype.

Whitney is intricate. In the way that even the casual music listener can tell the band works extremely hard to get every riff and melody completely spot on. I love the cohesiveness about their band.

Their style is the product of decades of music genres being pulled together to create a genre of indie rock music that differs from the many indie bands out there.

When watching their performance, I can’t help but think, these guys are going places.

The music from all the musicians that night made me carelessly and unknowingly smile. All eyes forward, feet tapping, hips gently moving back and forth, everyone in the concert hall in unity through music. Vibrations from sound and movement moved upwards in my spine, and a complex love for music met with the soulful rapping of Collins and Whitney’s finely tuned set made for a sensational night.

Vinyl Theatre’s sound is maturing and Chicago reacted to it with lots of energy. The Milwaukee band played with Portland duo Patternist and Chicago group The Giving Moon at Beat Kitchen on Nov. 29.

Vinyl Theatre is an alternative pop trio consisting of lead vocals and guitarist Keegan Calmes, keyboardist Chris Senner, and Nick Cesarz on drums. Mostly known for their electropop sound from their 2014 debut album Electrogram, this band is changing their sound up with the 2017 album, Origami. This nine-track album showcases Vinyl Theatre’s guitar-centric rock sound.

The 85-minute Vinyl Theatre set at Beat Kitchen was opened with new song, “My Fault,” and featured all of the band’s tracks from Origami.

Back in 2013, the trio branded their electropop sound with the release of their Gold EP. These songs had high energy tech-pop sounds that still underlie the band’s image.

The shift from the EP to their debut album Electrogram in 2014 was a slight marker in what their sound was becoming. The album included songs that came off catchy and absorbable to audiences. Especially with the song “Breaking Up My Bones” that gained popularity quickly.

Origami is more intricate, fluid and consistent. This album shows growth and a new rock flare through the more guitar heavy songs. The electropop, Two Door Cinema Club-influenced sound is still there, but a more unique style has been crafted.

The echoing creativity that shines in Origami is truly impressive. “We were working full time jobs when we wrote Electrogram, and we didn’t have the time to put everything into music. Origami is just a more well-rounded version of what we want to do as a band,” Calmes said to The Chicago Vibe.

The emotion behind the Origami compilation is one that instigates happiness. Calmes explained that the band had more time to draw from their influences with this album, including Catfish and the Bottlemen and The Killers. This was evident in the lyrics and sheer intimacy of the tracks.

From seeing Vinyl Theatre live in their earlier years, the one thing that has remained unchanged is the bright attitude and energy the band brings to stage.

The crowd at Beat Kitchen was filled with true fans who were dancing, singing and vibing with Calmes’ stage presence. The energetic group of people were the first concert crowd I’ve ever seen start a Conga line.

Throughout the show, the production quality showed to be much superior to their earlier music. The sound was more powerful, and the vocal techniques and guitar solos were impressive.

The band closed with the popular tune “Breaking Up My Bones” and an intense drum duo between Senner and Calmes.

“Electrogram was the infantile sound and Origami is growing from there,” Calmes said to The Chicago Vibe.

Origami by Vinyl Theatre is now available on vinyl at shows and online here.

“Thanks, Thanks for Coming”, is both the name of Joywave’s current tour, and the ninth track off of their sophomore album, Content. In a sold-out room at the iconic Lincoln Hall of Chicago, Joywave brought their music, new and old, to life in front of an eager crowd.

Four standard PC Screens lit up accompanying Joywave on stage as their visuals. Colorful images, designs, and videos flashed across these screens, expanding on their live show experience. Then entered Daniel Armbruster (vocals), Joseph Morinelli (guitar), Sean Donnelly (bass), Benjamin Bailey (keyboards), and Paul Brenner (drums).

After thoroughly enjoying Joywave’s set at 101.1WKQX’s PIQNIQ in 2015 and seeing them open for Young the Giant and Cold War Kids this September, I was looking forward to experiencing their own headlining show and seeing how it would compare to those powerful sets.

Starting off their set with Content’s self titled song, a more ambient track that gradually becomes more intense, Joywave captured everyone’s attention immediately. Making sure to include songs from both of their albums and EPs, their nineteen song set list was sure to please any fan hoping for an eclectic setlist. Tracks such as “Destruction” and “It’s a Trip” were sure crowd pleasers, while songs such as “Going to a Place” and “Confidence” slowed down the vibes of the room. I was very excited to hear “Nice House” live, which enchanted the audience. This acoustic-based song has always been my favorite off of their debut album, How Do You Feel Now?, and I hadn’t heard it live to date. “Tongues”, a bop familiar to everyone in the concert hall, was the second to last song of the show that peaked the energy for the final time of the night.

Setlist aside, Joywave is one of those live acts that won’t have you feeling left out if you are unfamiliar with their music - you can still rock out to their material even if you don’t know the lyrics. That’s the beauty of Joywave’s music through. Strong, articulate lyrics hand in hand with unique and infectious electronic beats.

Lincoln Hall was the perfect venue for Joywave to play, the quality of production in this intimate of a setting was a great feat. With vibrant colors lighting up the packed concert hall and Armbruster’s engaging stage presence, everyone was captivated. While fans were packed in, there was still room for them to move which is good because of Joywave’s contagious rhythms. Whether fans were nodding their head or tapping their feet, Joywave had people moving.

Armbruster’s dry humor charmed the crowd and he convinced us of his love for playing shows in Chicago. He had everyone jumping up and down along with him to each track. I always thought Joywave had amazing energy, but they took it to a whole new level on this headlining tour. They demanded the audience’s attention with their captivating stage presence and interacted with the audience a multitude of times.

Joywave, naturally, finished off their set with “Thanks. Thanks for Coming”. This polite closing on behalf of the band’s part wrapped up their set and ended their show. The second leg of this tour has just been announced, and I strongly recommend checking out Joywave in a city near you. Get tickets here.

The new age is here! Look no further than Chicago locals Ember Oceans because they’ve got a hip new single out! The animated indie pop-rock band will make you jump, sway, and maybe even hug your best friend. This four-piece band sounds similar to Passion Pit but has a wide range of influences. According to Facebook, their band interests are “couches are nice.” Indeed, they are. If you haven’t heard of Ember Oceans until now, I highly recommend the songs “Caught Up!,” “Karma,” and “Right Reasons.” But today we are here to talk about a new song of theirs, “Spearmint.”

Reminiscent of bubblegum pastimes, “Spearmint” brings a whole new sound to Ember Oceans. When they began writing, they stated that it was a nothing shy of a “slow groove,” but as they continued, they started to get into the swing of the new song to create a vibe that I can only describe as a warm and textured sound.

With “Spearmint,” Ember Oceans agreed that it was their first song that they felt in tune with and comfortable doing on their own. They told me that they used to rely on producers to capture the sound they hoped for, but with this one, it just came naturally. With a heavy jazzmaster strumming, they said they enjoyed the sounds of John Mayer’s new album and encapsulated that within their new single. But this band is far from cookie-cutter: you will have to listen for yourselves how they steer away from the mainstream and bring their animated sound to the forefront.

Personally, this is my favorite song of theirs. “Spearmint” is all about young love and the feeling that you get when you’re with your new partner. In this case, it’s all about a girl who has spearmint on her breath and makes them act like a freshman again. “You play my heart like an arcade game” is one of the lines in the song that shows the misfortune that comes with being vulnerable to someone but still not wanting the night to end.

Take it from me: this band has extreme bops. Good news for Chicago fans, they are going to bring something special to you for this winter in terms of a big show! Though they are still working on it, they plan to make their live sets better than ever. It’s clear to see that “Spearmint” is just the beginning.

This past weekend, I had the amazing opportunity to attend Freaky Deaky, a two-day “music festival” held on Friday October 28th and Saturday October 29th in Milwaukee, Wisconsin at the Wisconsin Center. The lineup featured two main headliners, Griz and Bassnectar. Griz was set to play on Friday following openers such as Flatbush Zombies, Boogie T, Opiuo, and Plaid Hawaii. Bassnectar’s Saturday performance included supporting acts such as Ganja White Night, Bleep Bloop, Mija, and Artifakts.

This year’s Freaky Deaky was very different than the past years. Previously, the event was a three-day music festival held only in Chicago, Illinois. This year, react decided to expand the event into a “Midwest takeover” and have events in not only Chicago, but Milwaukee, Grand Rapids and Ann Arbor. I have to say I was very disappointed in this decision. From the research I did scanning social media platforms such as twitter, Facebook, reddit, and radiate (a new social media specifically for music festivals) many people agreed with my disappointment and were not happy with the decision to expand. The Milwaukee lineup included the most well-known headliners, while the other lineups including Chicago, Grand Rapids, and Ann Arbor featured less known headliners and smaller acts. The Milwaukee lineup proved to be the favorite because it was the event that most resembled a music festival. The events in other locations were not festivals but merely concerts. Before I moved to Chicago for college, Freaky Deaky was the Chicago festival I was most excited to attend. When they announced this change, I was very disappointed, and it was not until the lineup was released that I decided to still attend. I had been waiting years to see Griz, and I would finally have my chance in Milwaukee.

I had planned to stay in an Airbnb with about 15 other ravers I had met through the festival social media app Radiate. Our only form of communication was through the app, and our snapchat group called #WeLit Freaky Deaky Safehouse. “Safehouse” meaning that everyone in the chat had been verified by sending a picture of them holding a quarter. I will have to admit I was nervous about staying with a group of strangers but over the course of the month I grew more comfortable with these people and began to be overwhelmingly excited to meet them. Their positive messages would brighten my day and never fail to make me smile.. I have never witnessed people so fun, kind, caring, and wild. They made Freaky Deaky one of the best festivals I have ever attended.

The best part of the festival came with Griz’s performance on Friday night. His performance was everything I could have imagined. Hearing him play the saxophone live, with the electric beats in the background felt like a movie. His visuals displayed all sorts of colors and positive messages. I was especially surprised with the crowd’s mood when I attempted to reach front row halfway through the performance. I had made this my goal, and after twenty minutes I could bear being in the middle no more; to the front I went. Usually when one tries to get to the front, they are bombarded with nasty remarks, shoves, and unhappy glares. This was exactly the opposite of what I experienced. I was matched with smiles and laughter, and it almost seemed as if the crowd was pushing me to the front. I ended up making it, and this made Griz’s performance even more extraordinary than I thought before. One of the most special parts of the performance was Griz collabing with Boogie T to release a brand-new single they both had been working on. It was so cool to be the first audience to hear this brand new single live.

Bassnectar’s performance was slightly less amazing than Griz’s but none the less was a great show. His use of lasers and confetti throughout the show had the audience feeling as if they were in a dream. A large criticism that myself, the rave fam, and many others read online was the lack of original songs by Bassnectar. I was disappointed to not hear his songs, but remixes of others. I hope in the future I am able to see some of Bassnectar’s original songs and not just adaptations of others. Besides for this dissatisfaction, the overall performance was great. Bassnectar performances along with the crowds that attend them truly have a way of making you feel like you are a part of something bigger, and like you are a part of a huge family.

Besides the headliners, I very much enjoyed the supporting acts. Boogie T and Plaid Hawaii had me grooving and dancing the night away long before Griz appeared on stage. I will definitely be checking them out again. Ganja White Night gave an outstanding performance and truly stole the show Saturday night. Mija was one of the only openers I did not end up enjoying. Her sound was repetitive and boring, and the crowd did not hesitate to express that. It seemed like she was playing for a bored, straight faced audience that couldn’t wait for the next act to begin.

Overall, this turned out to be the best way I could have spent Halloween weekend. The event in Milwaukee exceeded my expectations and now I’m not so against the Midwest Takeover they expanded to this year. I still wish the Milwaukee headliners would have played in Chicago because I think the larger city scale would have made the events more drawing to individuals, but none the less Milwaukee impressed me. A friend once said Milwaukee raves are the best raves, and though I disagree because Detroit vibes are home vibes, Milwaukee gives home a little competition.

October 26th, The Front Bottoms put on a night to remember at the Metro. The first band to perform was Bad Bad Hats. Though this band doesn’t have big following they made a name for themselves that night. They played their more popular hits, “It hurts” and “Midway.” This band is a mix of mid-western manners and hard rock and roll. The crowd was thrown for a loop when lead singer Kerry Alexander opened her mouth to talk.

Her mid-western charm came out. Her talking voice was sweet, well-mannered and almost shy. This is not what you’d expect from her harsh and honest lyrics. After she chat with the crowd she played a more aggressive song. I was astounded when the sweet mannered Kerry shredded her guitar solo. Their Minnesota origin doesn’t soften the edge of their music.

After Bad Bad Hats revved up the crowd Basement kicked it into high gear. This British rock band got the crowd pumped. During their performance crowd surfers came out (and got shut down by security). Their guitar riffs and energy shook the building. You could feel the bass of their songs in your bones.

As the crowd waited for the Front bottoms to perform the venue played “Say it ain’t so” by Weezer. The whole crowd united to sing the modern classic. Words can’t describe the feeling of unity and bliss this moment evoked. Even without live music Metro managed to capture the beauty of concerts.

The Front Bottoms took the stage and everyone was thrilled. Their performance included more than just audio. The band set up screens on both sides of the stage to project visuals that aligned with the songs. This performance was mostly new songs off their latest release “Going Grey.”

The Front Bottoms opened with “You Used to Say (Holy Fuck).” The crowd jumped and danced along to the indie hits. A large portion of the crowd brought alien balloons with lights in them. These were thrown around the crowd. Bouncing over heads and on stage, the balloons created a euphoric atmosphere.

At one point the crowd started throwing items up on stage. The first was a hand-made The Front Bottoms banner. It included the Chicago skyline and the band’s name. Brian Sella, the lead singer, held the banner above his head so the crowd could see. Then he had stage hands hang it up. Next a fan threw a hat on stage. After laughing at how sweaty it was Brian gave the hat to drummer Mathew Uychich to wear. Immediately afterwards another fan threw a Chicago hat. This hat landed on Brian’s guitar. After a good laugh he decided he had to wear it.

As Brian said, this concert was definitely a night to remember. With old and new songs coming together I’d keep an eye out for where The Front Bottoms goes next.

With her vibrant, firetruck-red hair and equally crimson jumpsuit, LPX sang her heart out before RAC and his touring crew took the stage at the Metro earlier this month. Lizzy Paplinger put indie duo MS MR on hold to pursue LPX, a solo project where, as she told Billboard, she felt she had the freedom to be bolder. And bolder she was. Unlike the slower, tamer hits of MS MR, like “Hurricane” and “Bones,” Paplinger’s powerful vocals ripped through the intimate space of Metro. LPX is all about empowerment and living unapologetically. She and her bandmates bounced all over the stage in their matching suits. At one point, Paplinger mixed cocktails for her guitarist’s birthday. The most memorable bit of her performance was her popular new song with DJ What So Not, “Better”. Paplinger recognizes her own worth in the song, denouncing her ex-lover’s refusal to do the same. Overall, LPX is a project to keep an eye on; its sheer force and confidence are highly infectious.

André Allen Anjos, known as Remix Artist Collective (RAC), performed with his wife, who goes by the name Pink Feathers, Speak vocalist Troupe Gammage, and artist Karl Kling. RAC established himself by remixing indie tracks, like Foster the People’s "Houdini" and the Shins’ “Sleeping Lessons,” back in 2012. He’s got quite a wide variety of projects under his name, remixing many indie artists, releasing his own full-length albums, and even creating an original soundtrack for sci-fi Steam game Master Spy in 2015. RAC produced “Strangers” in 2013 and “Ego” two years later. “Ego” is packed full of features from loved indie rock artists. K.Flay’s raspy vocals make “Heartbreak Summer”, while Rivers Cuomo of Weezer graces the upbeat “I Still Wanna Know”.

That night, RAC performed a live set as the final night of his Ego Tour, with primary vocals done by Troupe Gammage, alternating with Pink Feathers and Karl Kling. There was a good mix of tracks played, including classics like “Hollywood” and “Cheap Sunglasses,” but of course, most tracks were off “Ego.” The surprise came towards the end of the night when a familiar track began playing. RAC brought to life his version of “Say My Name” by Odesza, which was nominated for a “Best Remix” Grammy award in 2016 (and for good reason). RAC's guitars added another level of depth to the song that translated beautifully live, and I’m glad I got to witness this meshing of two of my favorite artists.

RAC concluded the night by playing “Let Go,” featuring the lovely Pink Feathers. As I've listened over the years, I’ve noticed that RAC has remained remarkably fresh. I still listen to many of his tracks on a weekly basis. His style has solidified into hopeful, bright pop anthems, with splashes of synths, nostalgia and heartache here and there. My first love will always his “Houdini” remix, and I’m impressed with the way RAC has made a name for himself from the very beginning. I have no doubt that his next album will be fully representative of his previous successes.

Ariel Pink is one of the most unique artists I have ever encountered in my life. His enigmatic style makes him seem more like a character than an actual person. At least, as a fan of his, that is how I view him. He has a very distinct sound—lo-fi, with a very clear 80s influence. Yet, the only fitting way I can describe his style of music is simply “Ariel Pink”. He has a truly unique style that many have tried to replicate, but solely belongs to him.

His newest release is his eleventh (!!!) studio album, titled Dedicated to Bobby Jameson, and in my opinion, it is his best album yet. He manages to show a more intimate side, while still maintaining the signature Ariel Pink sound he is known for.

Upon hearing the album title, I was really curious. Who is this “Bobby Jameson” character this album is dedicated to? At first, I thought it was just some fictional character, maybe an alter-ego of Ariel’s. But, upon some research, I learned some very interesting history behind the album’s name.

The man this album is dedicated to was actually a musician who is a very interesting, obscure character in Hollywood and music history. In the 1960s, Bobby Jameson was supposed to be THE next big thing. He opened up for the acts such as The Beach Boys and his career looked extremely promising. Once the singles he released hit the charts, they failed. He tried to release music under different names and guises, but for whatever reason - his career failed and he faded into obscurity. He ended up becoming reclusive and struggled with addiction for the rest of his life up until his death.

This whole mystery behind the persona of Bobby Jameson ended up capturing the attention of many people, and he now has a cult-like following. The dedication of this album to Bobby Jameson is fascinating to me—does Ariel relate to this enigmatic, troubled character? Does he just enjoy his music? I really appreciate that Ariel drew attention to a figure who didn’t get the success he deserved. I listened to some of Bobby Jameson’s work, and it is very good. So, thank you Ariel for introducing me to such an iconic character with a somewhat tragic story.

But—back to the album! Listening to it, there is no doubt that this is an Ariel Pink album, yet it has a new distinct flair that gave me a pleasant surprise. The album opener, “Time To Meet Your God”, is a high-energetic song that could have been a track featured on Ariel’s last studio album, Pom Pom. But, in the following tracks we are introduced to a different Ariel than we saw on the last album.

One of my favorite tracks on the album is “Dedicated To Bobby Jameson”, which is a little bit of psychedelic-70s influence and a little a bit of surf-rock, of course all with an Ariel Pink spin. The track, which takes its name from the album’s title, describes Bobby Jameson as “a Tinseltown tranny, and the mayor of the Sunset Strip.” It is a totally infectious, super fun track with a groovy vibe that reminds me of going on a night out with friends.

I think my favorite track of all is “Do Yourself A Favor”. It is so different from the entire album, and from most music that Ariel Pink creates. I was actually shocked when this track came on; I was completely blown away and I have had it on repeat ever since. It is such a raw, emotional song done almost all acoustically. It is just a totally honest, stripped down song which is completely different from the huge persona Ariel usually channels in his songs. It is such an intimate, real song that makes me view Ariel Pink as not just a big superstar character, but an actual person. It’s beautiful.

There is not a bad song on this entire album. I think the thing that stands out on this album, and every album, that Ariel Pink makes is his voice. It is extremely versatile. He does not necessarily have a classically trained voice, but he does unique things with his voice that no one else can do. One minute he is shouting in an almost robot-like manner, in another he is singing a soft, sweet love song. I cannot emphasize how different each and every song on this album is from one another, which is all thanks to Ariel’s amazing ability to transform his voice. He is truly a vocal chameleon.

Ariel Pink has wowed me once again with Dedicated To Bobby Jameson. I cannot wait to finally see him perform a full set (the only other time I ever saw him was at Pitchfork, and his set unfortunately was cut way short because of rain), and cannot imagine how amazing he will be to see in an actual venue on Halloween weekend.

Ariel Pink will be performing at Thalia Hall in Chicago on Saturday, October 28th. If you don’t already have your tickets, I highly recommend you buy some here. He is an outstanding talent, and really delivered on this new album.

Over the course of three years, I have seen Bad Suns perform in a few environments: opening for The 1975 in the Spring of 2014, playing a packed room at Schubas Tavern in the Summer of 2014, performing in the middle of a GAP store on Michigan Avenue in the Fall of 2015, filling up the Old National Centre in Indianapolis in the Spring of 2017, and now delivering my favorite set of theirs to date right here at Metro in Chicago.

I arrived at the venue eager to see what awaits me on the Love Like Revenge Fall Tour. I entered just after their second openers, Hunny, had wrapped up their set and was met with a full audience patiently awaiting the arrival of Bad Suns. While making my way through the dense crowd and to the photo pit, I overheard the chatter of excited fans - many of them talking about set list expectations and reminiscing on the last time they saw Bad Suns. This prompted nostalgia from me as well, and I realized just how excited I was to see Bad Suns again.

At 9:30pm, the venue’s playlist was cut to silence and the crowd roared a cheer as Christo Bowman (vocals), Ray Libby (guitar), Miles Morris (drums), and Gavin Bennett (bass) took the stage. The crowd was ecstatic to hear the opening notes to “Disappear Here”, the self-titled track off the band’s latest album. Bowman belted the lyrics and the crowd echoed in unison.

Their twenty-song set featured an eclectic mix of songs off of Language & Perspective, their debut album, and their latest release, Disappear Here. It was a great surprise to hear “Twenty Years”, a song off of their 2014 EP, Transpose, included in the set as well - it has always been a favorite of mine. They accompanied each track with a unique composition of lighting and colors, expanding on their live performance experience.

The band’s vibrant act enticed the audience. Tracks such as “Dancing on Quicksand” and “Daft Pretty Boys” captivated the crowd and had everybody dancing to the California-pop melodies of Bad Suns. Bowman slowed down the vibe of the show with more reflective songs like "Maybe We're Meant to Be Alone" and “Defeated” followed by a stripped down version of the intro to “Matthew James” before he brought back the energy in the room to maximum levels. He expressed his love and appreciation for the audience a multitude of times and climbed on top of the crowd not once, but twice during the show.

It has been amazing to physically see the progression of Bad Suns through these past few years - watching them play on a bigger stage, performing to a bigger crowd, and with a bigger set juxtaposes the very first time I saw them. Their evolution in terms of music as well as stage performance was very refreshing, and I can’t wait to see what the future has in store for this band. Get tickets to see them on the Love Like Revenge Fall Tour here.

Last weekend I had the privilege of attending and photographing Gryffin’s show at the Bottom Lounge as well as his performance at the Mike’s Harder launch party event. This was truly a dream come true because I have been a fan of Gryffin for a while now and had the opportunity to see him at Lollapalooza this past summer. His performance at Lolla took my breath away and since then he has become one of my favorite electronic music performers.

Many of Gryffin’s songs inspire emotions within the listeners. My favorite “Heading Home,” is one of these. Me and my best friend Jenna first heard this song in a promotional video for Electric Forest, an eight-day festival spread over two weekends in Rothbury, Michigan. This song captured our excitement to attend the festival and over the next few months became a song that described our friendship. When I think of home, I not only think of Detroit, Michigan, but I think of this song, and my best friend Jenna. When I heard this song on Friday I felt nothing but pure joy. With the crowd showing their funkiest moves, and Gryffin on the guitar, it was truly a perfect moment.

My favorite aspect of Gryffin is how talented he is at mixing the electronic portion of his music and playing the instrumental parts. Throughout his performance, he often plays the guitar and piano. This adds an amazing feature to his electronic based music. It shows that he is not simply pressing play as many DJs do today, but he is creating the music and sharing his diverse talent.

One aspect important in any show, is energy. This is another area that Gryffin excels in and made his show on Friday worth wild. Whether it’s while he mixes or plays guitar and the piano, or simply dancing with his audience, he never fails to keep his body and facial energy high. You can see the love and enjoyment he has in his music and this causes the audience to keep their energy high and never stop dancing.

From two outstanding openers, (ayokay, and Autograf (who I ought to mention is a Chicago native) to the colorful lights, and vivid visuals, Gryffin really gave attendees their money’s worth. Throughout my time at the show, I did not witness one attendee not having the time of their life. There was one man in particular who stood out to me above all else. His dance moves were stellar and lasted from the very first song of the opener to the final song of Gryffin. There was not a moment I did not see this man’s feet moving and arms twisting.

Gryffin’s performance at the Mike’s Harder event was quite different because this was a DJ set. He still played his well-known songs. Hearing them a second time was nothing less than a sweet treat. Although this performance did not contain any live instruments, Gryffin brought back many throwbacks and the audience reacted with loud screams of gratitude.

Anyone who is looking to have some fun should attend one of Gryffin’s shows in the future. From the wild dance moves, to the emotional ballads, every aspect of both of Gryffin’s performances added to the overall sensation. I can only look forward to what Gryffin will bring to audiences next and what the future will hold for himself and his listeners.

In his second album, “Who Truly Remains,” Capt. K’nuckles brings forth thought provoking monologues, combined with an eerie production style and a lot of raw energy. The album is reminiscent to the early work of Tyler, the Creator. Each time I listened I found songs that had more to offer than I first realized. This album requires you to come back time and time again, leaving you with new interpretations as a listener.

I believe that the strength of this album can be found with the fourth, fifth, and sixth songs consecutively. The fourth song, “.intruders.” delivers a head-bobbing flow and a reference to the album title, “Who Truly Remains.” This track gives us a look into the concept Capt. K’nuckles had in mind for the album. The next song on the album “.gorilla.palmz.” delivers a track that makes you feel like you can take on the world. It’s a song I could see me and my friends putting on in the car for a night of partying. The sixth song of the album “.arrow.to.the.head” was my favorite track. I believe it is the most well-rounded. It put forth the recognizable production style of most of the other tracks, solid flow with tight rhymes and high listenability. Capt. K collaborates on this with Ace Cadet and Swami See, giving a back and forth between the featured rappers’ styles. The compliment of sound it provided makes it a song I will come back to repeatedly. Ultimately, these trio of songs stood out to me as a group and really sets the artist up for success on the rest of the album.

As far as inspiration towards the style of music he puts out he claims to look mainly within himself. He notes that he keeps this as honest as possible by not listening to much music that comes out now-a-days so that it won’t spark ideas that are not his own. Something I believe worth noting about this artist is the relationship between Capt. K and his producer, Schlong Pong. When asked about the production of the album Capt. K responded,

“I met him [Schlong Pong] on a forum a while ago and he is from Germany. He hasn’t told me his name or what he looks like, but I prefer to keep it that way because I think it’s super sick that he keeps his identity hidden as it shows me that all that matters is the sound”.

With that said the dynamic seems to be working and they really complement each other. After giving a good listen to the album and speaking some with the artist, “Who Truly Remains” is an album to take a solid look at and Capt. K an artist to keep an eye on. One live performance has already taken place mid-August of this year. I’m curious to see how this album will translate to a live performance because I believe the raw energy connecting with a crowd will truly be something to experience. No date has been set for the next performance, but I know I will be keeping an eye out for it.

I really didn’t know what to expect when going to Saturday of Warble Daze this year. Although this is the second year the festival took place, this was the first year I heard about it. It was held at the Logan Auditorium, which is one of the few venues I have not been to in Chicago. What I did expect was an amazing show; and it was.

The line-up for the whole weekend was awesome, and I was so upset I couldn’t make it both days. It featured mostly local bands, with a few bands who made the trek across the country.

The Saturday line-up included Town Criers, Cafe Racer, Joe Bordenaro, Acid Dad (from New York), The Nude Party (from North Carolina), and Modern Vices. Many of these bands I have seen before, but it was cool to see some new acts I hadn’t even heard of.

Warble Daze features solely rock music, which worried me a little bit. I’ll be honest, I love rock, but to have six bands perform the same genre of music back-to-back sounded like it could have been a little bit boring. I was surprised when each band managed to deliver their unique brand of rock and roll.

The festival featured a variety of vendors and DJ sets as well. I appreciated this because it allowed attendees to get the chance to take a break from the show and explore other things music and art related.

As for the venue Logan Square Auditorium, I was surprised at how spacious it was. It looks way different than any music venue I have been to in the city, and since it is an event space used for a variety of events I was shocked that the sound was pretty decent. It really is a historic, vintage-feeling place.

Warble Daze is a promising festival. It aims to keep it local, with a very DIY-feel and many local bands and vendors. I really appreciate the Chicago-centric feel the festival has, yet they still make it a point to bring in bands from other places with a similar sound and vibe. I’m definitely looking forward to seeing Warble Daze grow!

During any concert, there is always an experience. With ASAP Mob, it was a delight. The set design was one I have never seen before, with the front of a Lamborghini personalized for the DJs on stage, and a huge screen in the back featuring the word “ASAP”. I have never seen a crowd cheer so loud and scream the lyrics along with the artist; it was almost a euphoric experience.

In the beginning, artists such as Treez Lowkey and Key! were featured along with some members of ASAP Mob before their actual show. It was cool to see in the back some of the ASAP crew watching their fellow performers present their work on stage, and you could see the whole UIC Pavilion vibing as well.

The crowd waited for ASAP Mob as they all chanted. Suddenly, the curtain came down and we could see the Lamborghinis and screen, but still no ASAP Mob. They all again proceeded to scream, “ASAP, ASAP, ASAP”, as the screen began to show the crew backstage. They started to sing, but I couldn’t hear them over the excitement of the crowd! Personally, I couldn’t wait to see ASAP Rocky. When he came out in front of the screen, a girl shouted “Flacko!”, which is what he refers to himself as in many of his songs.

Finally, they all came on stage to sing “Yamborghini High” and the crowd went absolutely nuts. Seeing all your favorites on stage was one for the books! Then they sang “Walk on Water” and the crowd was just as hype. I pondered around the crowd to see if anyone was in distress in this situation, but everyone seemed to be so happy they could barely contain themselves.

I had a chance to talk to a guy named Abriel who had a meet and greet pass on, and I asked him how his experience was meeting the crew. He stated his disappointment, as he had not met the crew because there were complications on the list of meet and greets. He had said nearly half of the line was booted out, even though they had passes to meet them. He tried to talk to a representative, but they weren’t there to console his pain. He also said that meet and greet people were allotted to get front row for the pit, but they had let general admission in early.

Although this was a disappointing experience for Abriel, I talked to other people in the pit. One girl from Cicero couldn’t believe she was there to celebrate with ASAP Mob. She purchased a hoodie which looked like an artist had hand-drawn the whole thing in pen. The merchandise was astounding. After all the cliché merchandise I have seen, this merch was clearly thought out for the fans.

Whether it is the band merchandise or the Lambos on stage, I can most definitely say this experience was different than any other concert I’ve been to. I have never been to a rap concert before this one, but it ranks high on my list as one to beat!

Self-proclaimed indie funk band Magic City Hippies has always oozed a blithe, sun-drenched attitude. Beginning as Robby Hunter Band, they released an album under the title "Magic City Hippies" in 2013 and changed the band's name after its release. As Magic City Hippies, the band debuted the “Hippie Castle EP” in 2015. Fanfare became a popular indie favorite that has remained in my mind after all these years with its unique, radio-style intro and mysterious, hazy allure. Since then, Magic City Hippies released singles “Heart Wants” and “Hush” in 2016.

The night's opener, Lovejoy, was a band from Chicago that stole my heart instantly. Vocalist and guitarist Duncan Lee has a smooth, bold voice with slightly rough edges that works well for their sound of psych rock. Trumpet player and equally powerful vocalist Kris Hansen added jazz into the mix. With summer-centric songs like "Sandcastle Isle" and "Wait by the Water,” how could they not be a perfect complement to Magic City Hippies? Their cover of David Bowie’s “Moonage Daydream” is something I’ll treasure for a long, long time. It was a stunning homage to Bowie packed with verve, and they made their mark as one of my favorite show openers.

Magic City Hippies picked up the pace again with a cover of "Somebody to Love Me" by Mark Ronson, a song they seem to enjoy covering quite often and do so fantastically. They played most of their songs under Robby Hunter Band, like Corazón and BUST. Something that amazes me about Magic City Hippies is their ability to create a musical environment that fosters both an indie funk and R&B sound. Robby Hunter occasionally raps or speaks in the middle of his songs, particularly “Never Say No,” which is a prime example of their indie-R&B style.

Magic City Hippies decided to save the reckless adventure, Hippie Castle EP, for last. I almost wish they didn’t play “Limestone,” because I knew how hard it’d hit me. This track is an emotional punch in the gut compared to the happy-go-lucky tracks on the Hippie Castle EP and Magic City Hippies album. “Limestone" pours out the pains of loving something temporary, and loving someone, or yourself, with destructive tendencies.

But it’s back to shotgunning a beer and jumping into the pool. Magic City Hippies kicks off an aggressive version of “Fanfare” that electrified me even more than the first time I heard the studio version of the song. They chose to conclude the night with the fan favorite, and the room buzzed with joy when they played the familiar radio sample intro. “Fanfare” will always hold a special place in my heart. The first time I heard it, I couldn’t believe how easily it took me to Miami. Magic City Hippies themselves explained it the best way possible on the song’s RapGenius page:

"The song begins as you are driving in your car, switching radio stations- until you find the alluring, triumphant, 'Fanfare' that welcomes you into the world of the “Hippie Castle”. You are instantly transported to our hidden bungalow, nestled amongst a lush jungle of diverse flora and fauna. Where women lay sun bathing along the edge of the pool, and the keg blasts the golden soda of the summer, into our mouthes, and random thrift store cups, and glasses.[…] This is the spirit of the times.”

While their songs generally sound playful, Magic City Hippies' lyrics are surprisingly insightful. "The only thing in life you’re owning is this little moment inside a sphere,” BRNT reminds its listeners. And they’re right. I exited into the fall night air walking on clouds, and it took me the walk home to realize I may not be in laying in a pool somewhere in Miami, but I’m in whatever life I get to call mine. This show couldn't have been a more perfect remedy for regrets and a reminder to forgive yourself and let go of the things that plague you, even if it's not quite summertime.

For such a young artist, Billie has built herself a large following. Last week on October 12, Billie Eilish played a sold out show at Schuba’s. For those of you not there, my sincere apologizes let me fill you in.

The performance started with an ambiguous feel. As the theme song for The Office played, Billie and her brother Finneas O’Connell took the stage. Though Billie was sick and couldn’t reach her high notes, she still gave an energetic performance. The 15-year-old star bounced around the stage, letting the music move her.

At one point in the set, Billie let her brother take the mic. He performed an acoustic version of “I’m in Love Without You” and left the crowd in awe. His voice is deeper than Billie’s, giving the show a fun variation. He still maintained the sad acetic that Billie is notorious for. After that performance, I will anxiously await more music from Finneas. I have no doubt this family has talent running through their veins.

When Billie picked up her Ukulele the crowd got excited. We all waited for the ring that would cue up “Party Favor.” Instead, she performed a ukulele cover of “Hot Line Bling” then made the transition to her song.

When performing her hit “My Boy”, Billie and Finneas present a dance. This was one of the coolest parts of the set. The artist let her shoulders bounce with the beat and kicked her feet to the bass.

Eventually, the set had to end. Billie closed the show with “Bellyache,” revving the crowd back up after “Ocean Eyes.” If you missed her this time - be sure to catch her the next. As long as she keeps making sick music, Billie is only going to get more popular. She started by selling out Schubas but it won’t be long before she is selling out shows at Thalia Hall.